Levels of Limbo

This is my current world. (As is still waiting, and keeping a number of others waiting, for a single decision, but that’s another ever-present story). I have a new and profound appreciation for web developers; I cannot imagine how people do this every. single. day. Eyestrain and muscle atrophy prevention are essential, as is just climbing out of the all-consuming screen periodically.  But here is the why  – which I really needed to be reminded of today – from an interview by Barbara Landes:

Q: “You have a large presence on the web. Do you feel this is an important way for artists to ‘keep up’ in the art world today? How is it important to you?”

A: “(Is it large?  I’ve never quite thought of it in that way).  My web presence is most vital to me as a deafened person.  I have enormous difficulty with most of the conventional ways that artists present themselves and network: I simply can’t hear enough in noise to do a great deal of effective schmoozing at openings or conferences. In fact, I shun most conferences because they rarely provide accommodations (such as CART captioning). They are essentially speech-based, and definitely exclusive to hearing people. I don’t use a voice phone; you can only text or e-mail me, so the e-mail link on my site is essential. I use cyberspace to basically level the playing field and to stay in contact. I maintain a web site, a (rather dull) blog, and a public Facebook page.  One thing I’ve been unable to embrace is Twitter…it seems a bit too immediate or intrusive for my preferences, but it could happen someday.

I’m not sure every artist needs it; I don’t believe in one-size-fits all solutions. My work is fairly well represented in photographs, so the medium is appropriate. When I am curating, I need to be able to see other artists’ images and read descriptions, so I really appreciate informative sites, and in turn, I also appreciate when curators or gallerists approach me with a prior knowledge of my work.

However it’s done, it is important for artists to be easily contacted, but if your work isn’t represented well online, I’m not sure this type of presence is useful. (After all that is said, one of the most common things I’m told at exhibitions is what an enormous difference experiencing the work in person makes, and I completely agree.)”

The process of building that contact point is nothing like making the work, either.